scholarly journals Domestic and international creative tourists in Portugal: insights for practitioners.

2021 ◽  
pp. 30-37
Author(s):  
Jaime Serra ◽  
Noemi Marujo ◽  
Nancy Duxbury ◽  
Alexandra R. Goncalves ◽  
Sonia Moreira Cabeca ◽  
...  
Keyword(s):  
Rural Areas ◽  
Cultural Tourism ◽  
Active Participation ◽  
Creative Expression ◽  
Primary Reason ◽  
Small Cities ◽  
Tourism Experience ◽  
Tourism Activity ◽  
Virtuous Cycle ◽  
New Generation

Abstract A great diversity of definitions of creative tourists exist, ranging from those who refer to visitors of dance, art, or handicraft workshops, to those who include people who take up temporary artistic residences to practice their creative expression and develop their art forms. In recent decades, we have observed the emergence of a new generation of travellers. These tourists are increasingly seeking co-creation processes, leading to more relational forms of cultural tourism, and active participation in creative experiences. This study revolves around the answers of the participants in the questionnaire of CREATOUR. We found that creative tourism activities can attract travellers to a location: both domestic (76%) and international tourists (64%) indicated that the primary reason for visiting the locale was to participate in the creative tourism experience. This was an important finding for us given that the locations were small cities and rural areas and some were quite remote. These findings suggest the potential for repeat visitors and the need to continually evolve activities to re-attract their interest as well as the value of operating in a network where travellers' participation in a creative tourism activity at one location can lead to participation in other activities elsewhere. This potentially virtuous cycle can strengthen awareness and connectedness among organizers of creative tourism activities in smaller places and rural areas.

User-centred design for creative tourism prototyping: the Maribor experience.

2021 ◽  
pp. 93-104
Author(s):  
Fiona Eva Bakas ◽  
Tiago Vinagre de Castro ◽  
Ana Osredkar
Keyword(s):  
Community Engagement ◽  
Cultural Tourism ◽  
Active Participation ◽  
End Users ◽  
The Other ◽  
Design Approach ◽  
User Centred Design ◽  
Other Hand ◽  
Tourism Experience ◽  
Creative Self

Abstract This chapter discusses how the principles of usercentred design and emotional mapping can be used to help tourism and culture practitioners design prototypes of creative tourism experiences. Creative tourism is a novel interpretation of cultural tourism that incorporates within the tourism experience the dimensions of active participation, creative self-expression, learning, and community engagement (Duxbury and Richards, 2019), underlined by an immersive connection to place. On one hand, to create successful creative tourism experiences, it is important that the tourism experience designers empathize with the end users/participants and identify with their needs and motivations. By adopting a user-centred design approach, this empathy can be achieved in practical ways and then included in the design of the final tourism experience. On the other hand, emotional mapping deepens engagement with places, fostered by a multisensorial immersive exploring exercise that challenges participants to link places to their own emotions and feelings.

scholarly journals Transformative Tourism as an Innovative Tool for Rural Development

2020 ◽  
Vol 12 (3) ◽  
pp. 277-291
Author(s):  
Dalia Vidickienė ◽  
Rita Vilkė ◽  
Živilė Gedminaitė-Raudonė
Keyword(s):  
Rural Development ◽  
Economic System ◽  
21St Century ◽  
Tourism Development ◽  
Cultural Tourism ◽  
Industrial Society ◽  
Rural Regions ◽  
Innovative Tool ◽  
New Generation ◽  
Post Industrial

AbstractThis conceptual article identifies major changes in the 21st century society that gave birth to a new generation of cultural tourists and to an innovative type of cultural tourism business that meets their needs – transformative tourism. The transformative tourism business is analysed as an integral part of a transition from the paradigm of industrial to post-industrial servitized economic system by implementation of three major paradigm innovations. The research related to the development of paradigm innovations in cultural tourism provides an opportunity to supplement the existing knowledge not only about innovative ways of cultural tourism development in rural regions, but also about general challenges facing the rural development in the post-industrial society.

scholarly journals Local Wisdom to Creative Cultural Tourism Activity

2014 ◽  
Vol 2 (2) ◽  
Author(s):  
Tharanee Nawatnatee ◽  
Noppamash Suvachart
Keyword(s):  
Cultural Tourism ◽  
Tourism Activity

scholarly journals Creative tourism: catalysing artisan entrepreneur networks in rural Portugal

2019 ◽  
Vol 25 (4) ◽  
pp. 731-752 ◽  
Author(s):  
Fiona Eva Bakas ◽  
Nancy Duxbury ◽  
Tiago Vinagre de Castro
Keyword(s):  
Rural Communities ◽  
Rural Areas ◽  
Design Methodology ◽  
Multiple Roles ◽  
Social Embeddedness ◽  
Structured Interviews ◽  
Small Cities ◽  
Content Type ◽  
Rural Context ◽  
First Time

Purpose Given limited research about how artisans become integrated into tourism, the purpose of this paper is to investigate the emergence of artisan entrepreneur–mediators who link artisans to tourism in rural areas and small cities in Portugal. Using social embeddedness as a conceptual framework, this paper views artisan entrepreneur–mediators as existing within an entrepreneurial ecosystem. The paper investigates their role within this ecosystem and how social networks influence the artisan entrepreneur–mediators’ roles in connecting artisans to creative tourism. Design/methodology/approach The paper is based on new (2017 and 2018) empirical evidence developed through two rounds of semi-structured interviews of five artisan entrepreneur–mediators. Findings This paper finds that artisan entrepreneur–mediators in rural areas or small cities take on multiple roles as networking agents who organize and offer creative tourism experiences, providing the missing link between artisans and tourists. An analysis of the nuances of the operations of these artisan entrepreneur–mediators suggests that high levels of social embeddedness within local rural communities are important in order for these neo-rural entrepreneurs to attain their goals. Originality/value Originality lies in the identification of a gap in artisan entrepreneurship literature in a rural context. It is the first time that a critical analysis of artisan entrepreneur–mediators who facilitate the link between artisans and tourism is carried out in terms of social embeddedness, their roles and connections to creative tourism, and types of community engagement.

What Were the So-Called ‘German Bands’ of Pre-World War I Australian Street Life?

2017 ◽  
Vol 15 (1) ◽  
pp. 51-65
Author(s):  
John Whiteoak
Keyword(s):  
World War I ◽  
Cultural Tourism ◽  
Gold Rush ◽  
Dance Music ◽  
World War ◽  
Social Functions ◽  
Seaside Resort ◽  
The First World War ◽  
Tourism Experience ◽  
First World

‘The ‘German band’ as a concept remains integrally associated with German ethnicity in the Australian public mind though such things as the extroverted oom-pah music of present-day Oktoberfest, or the live and recorded oom-pah music in German or ‘Bavarian’-themed venues. However, the costumed ‘German bands’ that were a feature of nineteenth-century British street and seaside resort life also began to appear ubiquitously in various gold-rush era Australian population centres and remained a fixture of Australian street entertainment until the First World War. Gold-rush era chronicler William Kelly described their music as being able to ‘drive swine into anguish’. Yet they had an opposing reputation for excellence in playing Strauss waltzes, polkas and other popular dance music of the era. They were sought after by dance venue, circus and other theatrical entertainment proprietors and were furthermore hired for private balls, picnics, showgrounds and racetrack entertainment. By appearing at German social functions and venues they buttressed pan-German cultural identity and traditions and, for non-Germans, the sight and sound of a disciplined, groomed and costumed German band provided a mildly exciting cultural tourism experience. In blaring street, circus parade or showground mode they, in fact, conformed to the present-day global stereotype of the Bavarian Biergarten oom-pah band. Through foundation research, this article attempts to apply some social, cultural and musicological ‘flesh and bones’ to what has more or less remained the ‘myth’ of the ubiquitous ‘German bands’ (and their not-always-German bandsmen) that sometimes entertained and charmed pedestrians while at other times represented a social and sonic blot on the streetscapes and public spaces of pre-World War I Australia.

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